我喜欢把大自然中的物象都看成各种不同形状的平面，同时带有色彩的对比，就像我凝视一棵树时，它引起我什麽样色块的联想，而不是树本身。用块面思维方式观察事物更加简练，更加整体，去掉一切繁缛的细节，简化元素的物性及其含意，凸现明确而有力的绘画语言。要知道，越是单纯的画面越容易感动人，“往往最震撼人心灵的祇是一句话”。以块面构成的二维空间画面更能直接地表达自身的情感，不同面形以及墨与色彩的对比、相互之间紧密的联繫，还有前後贯穿的线条，有着优美而富韵律的节奏感，显示出大自然蓬勃的生命力。色彩和墨在这都产生了同等的作用，并发挥各自的魅力，它们之间不分彼此，有机地结合，前景与背景融为一体，营造一种绚丽丰满而又“墨”、“色”和谐的境界。

　　现代艺术观念转变的前提是不受传统审美定义的制约，任何事物真实的存在都已成为次要的，而主要的问题是它们之间发生了什麽变化。它既不是传统理念和审美规范的统一，也不是描绘大自然完整的外貌，而是站在更高的地方去看过去和未来，从遥远的古代智慧到科学昌明的现代文化，不分中西、不分时空，全捏在一起，靠自我的想象和直觉的力量，是一种自发原创的艺术。正如罗丹所说，“一个真正的艺术家永远表现他所想的东西，不怕践踏现存的规范。”

　　中国画的题材不应仅局限於“山水”、“花鸟”，或某名山、某大川之间。如果你留意我们生活的周围，眼前的一切尽是画面，窗里窗外无不引起我们表现的欲望。德拉克洛瓦早就告诉我们，“不管他表面上的主题是什麽，画家所画的永远是他自己，主题仅仅是表现内心感觉的媒介而已。”当然，题材的转变意味着表现手法的更新，然而你得首先改变对事物的看法，尔後才能改变“世界”。要知道，艺术的生命在於不断开创新的视觉领域，在於探索未知。

　　多看与自己习惯不相干的画，多到达自己“陌生的地方”。

　　没有必要去划清“中国画”和“西洋画”的界线，也没有必要抱着中国画的态度来画中国画，“井水不犯河水”的结果祇能是永远也领会不到两水相融的美妙。

　　作为一个现代中国画家，必须具备全面的知识结构和广泛的审美能力，不再滞留於“小桥流水”、“云雾山中”以及“笔墨效应”等陈规旧套里，面对任何具有不同表现方式和媒介的艺术，都应该有着“看”进去的能力和判断力。

　　如果你不因任何“固有的框框”而困惑，如果你不带有功利心计，抱着坦荡真诚的胸怀和像朋友倾谈一样轻鬆自如的心境来创作，你的灵魂会得以“净化”而进入一种平静超脱的状态，一种莫名的快感就会由然而生，画面的所有“元素”都会跟着你的脉搏一起跳动，心灵的情感就会在画面自由自在地凝固，从而显现出一个真实的你。

　　我不愿意到传统的绘画理论和审美规范里去寻找依据，我也不愿意为显示“笔墨趣味”而抛棄对色彩的眷恋，它们都是束缚我自由创作的紧身衣，我关注的是我的发现。在可视的世界里，在理想的梦境中，无不闪烁着色彩的魅力，如果它能感动我，唤醒我的知觉并给我力量，那麽一定值得去发掘其“特有的元素”，它的“符号”及其体系，用心灵去聆听今日色彩斑斓的世界“内在的声音”，用想象的翅膀去遨游一个从来未被感知的世界。

　　这里呈现给敬爱的读者朋友的是由生活中所见、所感而发的一部分拙作，它仅仅表达了我今日的心境与观念，我想，不同的时空总会有不同的想法和追求吧。

　　於香港大也堂1996年11月8日

　　Notes on Painting---1996

　　I like to see images of nature as planes of different shapes with contrasting colours, like when I look closely at a tree, it arouses in me thoughts associated with different shapes rather than with the tree itself. To observe things in terms of planes results in a more concise and integrated vision stripped of superfluous details. This induces the material factors and its meaning to come out through a clean and powerful language of painting. The simpler the painting is, the more touching. “Sometimes, the most stunning thing is but a phrase.” The two dimensions created by planes could express one’s feeling more directly. Planes of different shapes and contrasts between ink and colors, their close relationship and the lines which link them through create graceful and melodic rhythm, revealing nature’s throbbing vivacity. Here, both ink and colours effect their charm. They fuse together organically, unit the foreground and the background and create a beautiful and harmonious state of ink and colors.

　　The change of the concept of modern art is beyond the boundaries of traditional definition of aesthetics. The true existence of anything is of secondary concern. The main problem is what has changed between them. It is neither a synthesis of traditional concept and aesthetic norms, nor is it an intact description of the appearance of nature. It is rather a meta-vision of the past and the future from times of the ancient sage till today’s scientific modern culture, a kneading together of everything regardless of its time, space more its being the east or the west through the power of imagination and intuition. It is a self-motivated art just as Rodlinl once said, “A true artist always expresses what he thinks without fear of treading upon existing norms.”

　　The subject of Chinese painting should never be limited to “landscapes”, “flowers and birds”, a famous mountain nor a renown river. All around us, everything before our eyes are pictures, nothing within or out of the window is not tiring our desire fore expression. Engéne Delacroix told us since long that “The painter always paints himself despite the theme of the painting. The theme is but a medium to express the painter’s inner feelings”. The change of the subject definitely suggests a renewal of techniques, however, one has to change one’s way of seeing things first, only then can you change the “would” --- an artistic life depends on constant enlargement of ones’vision and an exploration of the unknown.

　　Study more the paintings that differ from ones’ own and visit more “strange land”.

　　There is no need to lay a clear cut boundary between “Chinese painting” and “western painting” nor is it necessary to insist painting Chinese painting the way it used to be. To insist, one will never be able to experience the beautiful harmony of the two merging together.

　　To be a modern Chinese painter, one needs to be knowledgeable and be able to exert aesthetic judgment on a variety of subjects, not confining oneself merely to the painting of landscapes or to create effects with ink and strokes. One should be able to appreciate and to judge different forms and media of art expression.

　　If you are not confined by the past, not interest-conscious and you create with an openness and lightness like chatting with friends, your soul will be purified and it will enter into a state of calmness and freedom; a kind of anonymous joy will gradually emerge and every factor of the picture will capture the rhythm of your pulse. The feelings of your soul will freely freeze on the painting and a real you is mounted.

　　I do not want to go back to the traditional art theories and aesthetic norms for reference. I do not want to demonstrate the “delights of strokes and ink” at the expense of my love for colors. They both bind my freedom of creation. What I am concern with is my discovery. In a visual would, in an ideal dream, nothing is not sparking with the charm of colours and if it affects me, wakes me and empowers me, it must then be worthy to discover its unique factors, its symbols and its system, and to listen for the inner voice of today’s colorful world as well as to soar in a would that is not yet felt with the wings of imagination.

　　Here is a book for my honourable friends and readers showing what I have seen and felt in life. It only shows what I feel and think today and I guess I will have different thoughts and quests in a different setting of time and space.

　　At Day Hall, Hong Kong 8 November, 1996